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Art, History, and Postwar Fiction explores the ways in which novelists responded to the visual arts from the aftermath of the Second World War to the present day. If art had long served as a foil to enable novelists to reflect on their craft, this book argues that in the postwar period, novelists turned to the visual arts to develop new ways of conceptualizing the relationship between literature and history. The sense that the novel was becalmed in the end of history was pervasive in the postwar decades. In seeming to bring modernism to a climax whilst repeating its foundational gestures, visual art also raised questions about the relationship between continuity and change in the development of art. In chapters on Samuel Beckett, William Gaddis, John Berger, and W. G. Sebald, and shorter discussions of writers like Doris Lessing, Kathy Acker, and Teju Cole, this book shows that writing about art was often a means of commenting on historical developments of the period: the Cold War, the New Left, the legacy of the Holocaust. Furthermore, it argues that forms of postwar visual art, from abstraction to the readymade, offered novelists ways of thinking about the relationship between form and history that went beyond models of reflection or determination. By doing so, this book also argues that attention to interactions between literature and art can provide critics with new ways to think about the relationship between literature and history beyond reductive oppositions between formalism and historicism, autonomy and context.
Cubism was the most influential artistic movement of the 20th century, yet just what cubism was, or stood for, is still in dispute. This book offers a way beyond this confusion through a narrative of cubism's beginnings, consolidation and dissemination.
Cubism and futurism were closely related movements that vied with each other in the economy of renown. Perception, dynamism, and the dynamism of perception—these were the issues that passed back and forth between the two. Cubism and Futurism: Spiritual Machines and the Cinematic Effect shows how movement became, in the traditional visual arts, a central factor with the advent of the cinema: gone were the days when an artwork strived merely to lift experience out the realm of change and flow. The cinema at this time was understood as an electric art, akin to X-rays, coloured light, and sonic energy. In this book, celebrated filmmaker and author Bruce Elder connects the dynamism that the cinema made an essential feature of the new artwork to the new science of electromagnetism. Cubism is a movement on the cusp of the transition from the Cartesian world of standardized Cartesian coordinates and interchangeable machine parts to a Galvanic world of continuities and flows. In contrast, futurism embraced completely the emerging electromagnetic view of reality. Cubism and Futurism examines the similarity and differences between the two movements’ engagement with the new science of energy and shows that the notion of energy made central to the new artwork by the cinema assumed a spiritual dimension, as the cinema itself came to be seen as a pneumatic machine.
This anthology collects 36 texts and papers from the Paul de Man archive, including essays on art and literature, translations, critical fragments, research plans, interviews, and reports on the state of comparative literature.
Cubism is one of the most significant turning points in the history of Western art. John Golding recapitulates the creative excitement of this revolution in pictorial concept and shows its influence and its place in the general history of twentieth century art. He describes the way Cubism evolved, from the early experiments of Picasso and Braque -- through the new techniques developed by these two sovereign creators and Gris -- to the dissemination of the style and the Cubist work of Léger, Delaunay, and others. In defining the characteristics of Cubism, Golding proceeds from the evidence of the paintings themselves, giving illuminating readings of major works. Halftone reproductions of 160 works illustrate the analysis. -- From publisher's description.
Combines critical essays by leading authorities on Picasso and Cubism with quality reproductions of his work, in a visual tribute that assesses the legacy of Picasso's Cubism and the seminal piece Les Demoiselles d'Avigon on twentieth-century art.